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Scott Seaton

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Guest Artist: Chee-Yun Kim, Violin

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Missoula Symphony Association

The Missoula Symphony Association Presents

scott seaton, Music Director Finalist Featuring chee-yun KiM, VIOLIN Saturday, February 29, 7:30 P.M. & Sunday, March 1, 3:00 P.M. 65 th Season, 2019-2020

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Concerto for Violin and Orchestra in D minor Op. 47 Allegro moderato Adagio di molto Allegro, ma non troppo Ms. Kim

Intermission DVoĹ˜Ă K

Symphony No. 8 in G major, Op. 88 Allegro con brio Adagio Allegro grazioso Allegro ma non troppo

This program is dedicated to the memory of Mora Payne

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Scott Seaton Music Director Finalist American conductor Scott Seaton has been praised for possessing “finesse, clarity, and precision” by the Luxembourg Times and has left audiences “breathless” according to Entertainment News Northwest. He is in his fourth season as Music Director of the North State Symphony in Northern California where he has garnered acclaim for his dynamic performances, innovative programming, and community and youth outreach. From 20122015, he led the Minot Symphony Orchestra to new artistic heights and forged exciting collaborations on the local and state levels. Seaton is also the Principal Conductor of the Veridian Symphony Orchestra. As an artistic leader, he has collaborated with such artists as Project Trio, Alessio Bax, Gabriela Martinez, Charlie Albright, and Sara Davis Buechner. Since his international debut in 2007 with the Orchestre Philharmonique du Luxembourg, Seaton has conducted orchestras spanning North America, South America, and Europe. Upcoming and recent engagements include the Evansville Philharmonic, Kamloops Symphony, Spartanburg Philharmonic, Mercury Soul, Jackson Symphony Orchestra, Johnstown Symphony Orchestra, Pennsylvania Centre Orchestra, the South Jutland Symphony Orchestra (Denmark), Cabrillo Festival Orchestra, Toronto Philharmonia Orchestra, Mansfield Symphony Orchestra, Tonhalle-Orchester Zurich, Whatcom Symphony Orchestra, Portland Columbia Symphony, and the Western Plains Opera. He has also appeared with the Brandenburger Symphoniker, Fort Worth Symphony, Milwaukee Symphony, Charlotte Symphony, Memphis Symphony, Winnipeg Symphony, National Symphony Orchestra, Magdeburg Philharmonic, Bamberg Symphony, Frankfurt Radio Symphony, Orquesta Filarmónica de la Universidad Nacional Autónoma de México, Cincinnati Symphony, Detroit Symphony, and the Bohuslav Martinů Philharmonic Orchestra. Seaton won the 2011 INTERAKTION competition and was given the opportunity to conduct an orchestra composed of all of Germany’s top orchestras, including the Berlin Philharmonic, Konzerthaus Orchestra, German Symphony Orchestra, and the Radio Symphony Orchestra Berlin. As a semi-finalist in the 2012 Sir Georg Solti International Conducting Competition (Frankfurt, Germany), he placed in the top ten conductors from a pool of over 400 conductors from 73 countries that were initially considered. He was a finalist in the Chicago Symphony Orchestra’s Sir Georg Solti Conducting Competition as well as a quarter-finalist in the Gustav Mahler International Conducting Competition. Equally at home with the operatic repertoire, Seaton regularly collaborates with the Bel Canto Singers bringing semi-staged productions to Redding, California. He has served as Assistant Conductor of Festival Opera (Walnut Creek, California) where he worked on several productions from Puccini’s Turandot to Britten’s A Midsummer Night’s Dream with conductor Michael Morgan. An enthusiastic advocate of contemporary music, Seaton has conducted numerous premieres in the past several years. He has curated programs and championed music by living composers such as Libby Larsen, Mason Bates, Adam Schoenberg, David Hertzberg, Pierre Jalbert, and Maria Grenfell, to name a few. In 2007, he 4

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gave his Jordan Hall debut at the New England Conservatory with the New England Collective Chamber Orchestra performing works by emerging talents in the Boston area. Additionally, he appeared on New Music for the Sonically Curious, a series of performances in Boston devoted to works of composers in the New England area. He has worked with the New York City-based Mimesis, an ensemble dedicated to the music of living composers. He has also recorded several works with FiveOne in Cleveland. Originally from Nashville, Tennessee, Seaton has earned degrees from the Université de Montréal, the New England Conservatory, and Vanderbilt University. He has also studied at Tanglewood and the National Conducting Institute sponsored by the National Symphony Orchestra. His mentors include Michael Morgan, JeanFrançois Rivest, Robin Fountain, Charles Peltz, and Carol Nies. Seaton has undertaken additional studies with Kurt Masur, David Zinman, Stefan Asbury, Gustav Meier, Marin Alsop, Jorma Panula, Larry Rachleff, Kenneth Kiesler, Alexander Mickelthwate, Peter Eötvös, Leonard Slatkin, and Zsolt Nagy, among others. An avid cyclist and runner, Seaton recently did a solo coast-to-coast cycling expedition from Oregon to Massachusetts. As a marathoner, he has run races in Los Angeles, Calgary, Vancouver, Salt Lake City, Minneapolis, and Fargo, to name a few. He qualified for and ran in the 2018 Boston Marathon.

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CHEE-YUN Kim Violinist Violinist Chee-Yun’s flawless technique, dazzling tone, and compelling artistry have enraptured audiences on five continents. Charming, charismatic, and deeply passionate about her art, Chee-Yun continues to carve a unique place for herself in the ever-evolving world of classical music. A winner of the Young Concert Artists International Auditions and a recipient of the Avery Fisher Career Grant, Chee-Yun has performed with many of the world’s foremost orchestras and conductors. She has appeared with the San Francisco, Toronto, Pittsburgh, Dallas, Atlanta, and National symphony orchestras, as well as with the Saint Paul and Los Angeles Chamber Orchestras. As a recitalist, Chee-Yun has performed in many major U.S. cities, including New York, Chicago, Washington, Los Angeles, San Francisco, and Atlanta. In 2016, Chee-Yun performed as a guest artist for the Secretary General at the United Nations in celebration of Korea’s National Foundation Day and the 25th anniversary of South Korea joining the UN. In 1993, Chee-Yun performed at the White House for President Bill Clinton and guests at an event honoring recipients of the National Medal of the Arts. Her most recent recording, Serenata Notturno, released by Decca/Korea, is an album of light classics that went platinum within six months of its release. In addition to her active performance and recording schedule, Chee-Yun is a dedicated and enthusiastic educator. Her past faculty positions have included serving as the resident Starling Soloist and Adjunct Professor of Violin at the University of Cincinnati CollegeConservatory of Music and as Visiting Professor of Music (Violin) at the Indiana University School of Music. From 2007 to 2017, she served as Artist-in-Residence and Professor of Violin at Southern Methodist University in Dallas. Chee-Yun plays a violin made by Francesco Ruggieri in 1669. It is rumored to have been buried with a previous owner for 200 years and has been profiled by the Washington Post. For additional information and to sign up for her e-newsletter, please visit www. chee-yun.net.


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contents President’s Message��������������������������������������������������������������������������������������� 8 Executive Director’s Message����������������������������������������������������������������������� 9 Missoula Symphony Orchestra������������������������������������������������������������������ 10 Program Notes���������������������������������������������������������������������������������������������� 12 KUFM Broadcast������������������������������������������������������������������������������������������� 15 Missoula Symphony Association��������������������������������������������������������������� 21 Business Contributors��������������������������������������������������������������������������������� 26 Concert Sponsors����������������������������������������������������������������������������������������� 27 Scott Seaton Interview�������������������������������������������������������������������������������� 28 Scholarship Fund������������������������������������������������������������������������������������������ 30

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president’s message Jim Valeo This weekend marks the end of perhaps the busiest month in the history of the Missoula Symphony and Chorale. In the four weeks of February we have had two masterworks concerts with two music director finalists and the family concert with two performances for area fourth graders and the evening community performance. Our musicians get a welcome rest after Sunday afternoon. The support of our community through this period has been terrific—large audiences at every performance. Thank you. We also held a luncheon to benefit our Scholarship Fund. This event was well attended with good response to the challenge from the Cook Family for a renewal of support for this important effort. Please consider supporting scholarships for UM music students if you have not done so. Next, we’ll see you in April for our final concert of the season with our last music director finalist.

J i m Va l e o President, Missoula Symphony Association

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Missoula Symphony Association

Executive Director’s Message Jo May Salonen Hello! Thank you for joining us this weekend as we welcome our fourth Music Director finalist Scott Seaton. As with all of the finalists, Scott has been busy in our community meeting folks and working with our musicians as they prepare for these concerts. This process has been fascinating and as we’ve said before, your input and commitment to the hiring of our next Music Director is invaluable! We take a break in March and then will welcome our last finalist in April. This past month was a busy one and thank you to those of you who joined us for our very fun and interactive family concert, Sleepover at the Museum, We thoroughly enjoyed our collaboration with the Montana Natural History Center, Rosie Ayers, Kate Crouch, Marc Moss of Tell Us Something and Mayor John Engen. It was a great night! And finally, thank you to those of you who have contributed recently to our Scholarship program - your commitment to the music students who play in our orchestra is greatly appreciated! Enjoy the concert!

Jo May Salonen Executive Director, Missoula Symphony Association

RBC Wealth Management is proud to sponsor the Missoula Symphony Gary Kiemele, Senior Vice President – Financial Advisor Consulting Group – Directors Council (406) 829-4611 | (866) 394-0672 www.garykiemele.com | gary.kiemele@rbc.com Managing wealth with integrity and purpose. Non-deposit investment products: • Not FDIC insured • Not bank guaranteed • May lose value ©  RBC Wealth Management, a division of RBC Capital Markets, LLC, Member NYSE/FINRA/SIPC.

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scott seaton, Music Director Finalist Music Director’s Chair sponsored by Rick & Diana Nash FIRST VIOLIN Margaret Nichols Baldridge, concertmaster Chair sponsored by Janet & Harry Haines. Loy Koch, associate concertmaster Chair sponsored in honor of M. Stephen Rasch and Lonye Rasch Madeleine McKelvey, acting assistant concertmaster Janet Allison Camas Allison-Bunnell Peter Dayton Wes Douglas Suzanne Hartzell Linda Lacey Nancy Lofgren Kohler Edwin Mellander Emily Rogers+ SECOND VIOLIN Kira Lee, acting principal Chair sponsored by Laura Patterson Pam Hillygus, associate principal Natalie Grieco, assistant principal Ken Ballinger Anneliese Broman Claudia Christensen Anna Elbon Patricia Forsberg Will Hunt Julie Lacey Maddi Ogle Patrick Shannon VIOLA Colleen Hunter, principal Chair sponsored by Mary Ann & Robert Moseley Martha Ballard Thayer, assistant principal Chair sponsored by Robert & Carol Seim Jodi Allison-Bunnell Leslie Collins-Rose Bayley Ginnaty+ Kathryn Mellander Lea Tonnere+ Christine Wallace Richard Wells Ryan Zoani+

CELLO Adam Collins, principal Chair sponsored by Dan & Sophia Lambros Christine Sopko, assistant principal Chair sponsored by Louisa & Paul Axelrod Susan Anderson Joan Chesebro Dawn Douglass David Harmsworth+ Sage Johns DOUBLE BASS Ryan Davis, acting principal Chair sponsored by Richard & Alice Dailey William James Dillon Johns Michael Johns Thomas Sciple Nicholas Timmerhoff FLUTE Joanna Martin Berg, principal Chair sponsored by Laura & Mark Haythornthwaite Julia Vasquez Hugo Romero

HORN Zachary Cooper, principal Chair sponsored by Betsy & Warren Wilcox Olivia Quintero, assistant Jason Barkley Daniel Lande Robert B. Green TRUMPET Brendan McGlynn, principal Chair sponsored by Ann & Tom Boone Jens Jacobson Jarom Hein TROMBONE Rob Tapper, principal Chair sponsored by Frank & Maggie Allen Tomi Kent Chris Porter TUBA Benedict Kirby, principal Chair sponsored by Pam Gardiner & Lyle Geurts

PICCOLO Julia Vasquez

TIMPANI Robert LedBetter, principal Chair sponsored by Michael and Traci Punke

OBOE Susi Stipich, principal Chair sponsored by Jennifer & Ben Yonce Olivia Adams

PERCUSSION Samuel McKenzie, assistant principal Rosie Cerquone Jon Woods

ENGLISH HORN Jennifer Gookin Cavanaugh, principal Chair sponsored by Jo May & Brian Salonen CLARINET Christopher Kirkpatrick, principal Chair sponsored by Sue & John Talbot Polly Huppert Kathyrn Pannell Rebecca Speranza BASSOON Alicia L. McLean, principal Chair sponsored by Bill & Jean Woessner Logan Beskoon

HARP Peggy Young, principal Chair sponsored by Maria & Peter van Loben Sels PIANO Christopher Hahn, principal Chair sponsored by Twila Wolfe Librarian Suzanne Hartzell Personnel Manager Susi Stipich Stage Manager Olivia Adams *Members of the string sections are listed alphabetically. Seating is rotated for each concert. +Missoula Symphony Scholarship Recipients


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Program Notes By Joe Nickell Michael Torke (1961 -

) — Javelin

Born in 1961, Michael Torke has emerged as one of the most acclaimed American orchestral composers of his generation. Working in a style roughly dubbed “post-minimalist,” Torke’s work is fairly comparable to that of fellow contemporary American composer John Adams. Both utilize the pulsing, harmonically simple yet rhythmically complex textures of minimalism; but neither allows this stylistic device to limit his personal expressive range. In Torke’s case, hints of contemporary pop music as well as classical and even medieval idioms give his works a distinctly modern American spirit that is deeply informed by the musical traditions that have brought us to the 21st Century. Torke describes Javelin in his own words: “I had three goals in mind when I began this piece for the Atlanta Symphony’s anniversary: I wanted to use the orchestra as a virtuosic instrument; I wanted to use triads (three-note tonal chords); and I wanted the music to be thematic. I knew I would welcome swifter changes of mood than what is found in my earlier works. What came out, somewhat unexpectedly, was a sense of valor among short flashes and sweeps that reminded me of something in flight: a light spear thrown, perhaps, but not in the sense of a weapon, more in the spirit of a competition. When the word ‘javelin’ suddenly suggested itself, I couldn’t help recall the 1970s model of sports car that my dad had owned, identified by that name, but I concluded, why not? Even that association isn’t so far off from the general feeling of the piece. Its fast tempo calls for 591 measures to evoke the generally uplifting, sometimes courageous, yet playful spirit.” The work’s title has an extrinsic significance as well: Javelin was commissioned by the Atlanta Symphony for the Olympic Games Cultural Olympiad in celebration of the Atlanta Symphony’s 50th Anniversary season.

Jean Sibelius (1865 – 1957) — Violin Concerto The music of Jean Sibelius is the music of nature. He was a man keenly attuned to the cycles and natural processes of the earth and its inhabitants. That predilection is evident throughout his music, which tends to follow organic rather than formal structures and to highlight atmosphere over spotlit melodies. It is not just the atmospheric or structural elements of his music that lend this connection to nature. By growing his musical ideas from seeds — rather than stating them as a kind of thesis for discussion, as was the traditional classical method — Sibelius mimics the cycles of nature that are so familiar to those of us who choose a life framed by wilderness. For us Montanans, this is music we seem to know by heart, even if we’ve never heard it before. In that sense, we can understand why Jean Sibelius was viewed, in his time and still, as the seminal figure in Finnish arts. It is fitting that Sibelius would be so sanctified in his native country; for he was both a devoted nationalist and an artist who attempted to address the fundamental nature of cultural identity. His short work from 1900, Finlandia, soon became his best-known work — and a virtual national anthem for his country. Sibelius was widely respected for his tremendous mastery of string instrument 12

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writing. It is therefore somewhat surprising that he composed just a handful of works for solo or chamber violin. The Violin Concerto proved exceptionally daunting to Sibelius, who spent years polishing the work before he was finally satisfied. The impetus for the Concerto came from the great violinist Willy Burmester, who pressured Sibelius to complete the work during a time when the composer was deeply frustrated and prone to heavy drinking. The completed concerto, premiered in 1904, showed little of this darkness; indeed, the Concerto’s finale is imbued with an exuberance not seen in many of Sibelius’ other works. The Concerto establishes its character from the first, unforgettable notes. Shimmering, icy purity almost immediately gives way to a fiery, severe character. This contrast carries forward throughout the work. The expansive, symphonic first movement gives way to a slow, brooding second movement; and the concerto closes with a romping, sharply syncopated finale, which English music critic Donald Francis Tovey famously described as a kind of “polonaise for polar bears.”

Antonin Dvořák (1841 – 1904) — Symphony No. 8 Throughout the 17th and 18th Centuries, Bohemian artists endured a painful period of obscurity. Those Czech composers who sought fame beyond the borders of Bohemia were forced to leave the country and join the artistic circles of Vienna or Germany. Though, according to the historian Alec Robertson, Czech musicians were known across Europe for their technical ability, no significant composers emerged from Bohemia until Bedrich Smetana was born in 1824. But, with Smetana’s rise, the fate of Czech music forever changed; the world was finally ready for Antonin Dvořák. Born in September of 1841 in a small village on the banks of the Moldau River, Dvořák grew up immersed in Bohemian folk music and culture. He earned his first notoriety for the patriotic cantata, “The Heirs of the White Mountain,” composed when he was 31. After this relatively late start, Dvořák’s fame quickly grew. He became a close (and lifelong) friend of Johannes Brahms, who helped Dvořák secure his first publication. His symphonies and operas swept the continent. By the time of his death in 1904, Dvořák was revered around the world; he was given a national funeral at the Vysehrad cemetery, where the Czech nation’s leading men are laid to rest.

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In 1889, Dvořák was elected to the Czech Academy of Arts and Sciences. To mark the honor, he dove into composing a new symphony. The composer at the time stated that he wanted to produce “a work which is different from the other symphonies, with individual ideas worked out in a new way.” For him, finding that path meant backing away from some of the traditional formal elements of a symphony. Instead, he developed the music in a much more free-form, flowing fashion, building on elements of Czech folk music in a method that aimed to be pictorial and narrative. The result was an immediate hit both at home and abroad; it also presaged, both in tone and technique, the brilliance of Dvořák’s Ninth Symphony, “From the New World,” which many of us know and love well. The first movement of the Eighth Symphony begins prayerfully, with a lovely horn melody that segues to a bright and exhilarating crescendo. From there, the orchestra rolls forward sunnily until the return of the horns return to restate their prayerful melody. This time it segues to a more excited and nervous passage that rises in intensity for several minutes. Its resolution once again brings more sunlight. This shifting play between somber and lighthearted, atmospheric and energetic carries out through the rest of the first movement, resolving ultimately in an exciting sprint to the finish. In a notable split from tradition, the lush, Dvořák’s second movement is actually the longest of his symphony’s four movements. (While there is no set formula, typically the inner movements of a symphony are shorter than the outer movements—often by a significant margin.) Where Dvořák does follow tradition is in providing a marked contrast to what came before. Where his first movement rolled ever forward, the second is pensive, at times hesitant, pausing and collecting itself, at times stewing on an idea, before finally relaxing into a sweet reverie that closes out the movement. Then comes the third movement, a lovely, swaying dance in softly pulsating triple meter. This is probably Dvořák’s most famous symphonic movement that isn’t part of his beloved Ninth Symphony, and justly so: its melody is instantly infectious, its supple flow lifting the spirit ever higher. The fourth movement begins with a clarion call from the trumpet, calling us once again to a dance—though this time, it’s mostly a romping affair, sprinting ever faster, leaping ever higher, an expression of exuberance punctuated by thrilling trills from the horns. After a brief rest in the middle, the music takes off again, this time unbridled, driving quickly to the music’s thrilling conclusion.





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General $20 | Seniors $15 | Students $10

Clef Notes Torke — Javelin Penned in 1994 for the Olympic Games Cultural Olympiad, this modern American classic exemplifies Torke’s harmonically simple, pulsating “post-minimalist” style of composition. Sibelius — Violin Concerto Written in 1904, Sibelius’ only violin concerto showcases his expansive, pictorial compositional style, evoking the Finnish landscape from the music’s first, icy notes to its romping finale. Dvořák — Symphony No. 8 With its reliance on folk melodies and dances, Dvořák’s penultimate symphony paints an evocative portrait of the composer’s Bohemian homeland.

KUFM BROADCAST This concert will be broadcast over Montana Public Radio on Sunday evening, March 15, at 7 p.m.

KUFM Missoula, 89.1 KUFM N. Missoula, 91.5 KUFN Hamilton, 91.9 KUKL Kalispell, 90.1 KAPC Butte, 91.3 KUHM Helena 91.7, KUFL Libby, 90.5 KPJH Polson, 89.5 KGPR Great Falls, 89.9 Large-print copies of Program Notes are available upon request in advance of the event by calling 721-3194 or at www.missoulasymphony.org

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DeVelopMent cooRDinatoR

Jim Valeo

Beth Woody

Vice pResiDent

eDucation cooRDinatoR

Julie Tomasik

Sylvia Allen Oman


special eVents anD pRoJects

Ben Yonce

Deborah Woody



Bill Johnston past pResiDent Ed Wetherbee DiRectoRs Adam Collins, Andrew George, Mark Haythornthwaite, Theresa Johnson, Bill Johnston, Robin Kendall, Celeste Peterson, Deborah Stapley-Graham, Jeff Vandergrift

Suzanne Hartzell inteRns Olivia Adams Rory Anderson eMeRitus BoaRD oF DiRectoRs Tom Boone Robert Homer Caryl Klein Sophie Lambros

eXecutiVe DiRectoR

Mora Payne

Jo May Salonen

Carol Seim

choRale DiRectoR Dean Peterson DiRectoR oF opeRations Peter McKenzie patRon seRVices cooRDinatoR

John Talbot Marci Valeo The Missoula Symphony Association is a member of the Montana Association of Symphony Orchestras and the League of American Orchestras.

Kirsten McGlynn The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $50 or more within 12 months of February 9, 2020. We apologize for any omissions or errors.


CONCERT SPONSORS Anonymous (4) George & Dolores Bandow Blackfoot Bill & Phyllis Bouchee Candice Boyer– In memory of Martin & Marion Boyer Christian Samson, P.L.L.C. D.A. Davidson & Company DeMarois Buick-GMC-Mercedes Doubletree Hotel Missoula-Edgewater First Security Bank

Garlington, Lohn & Robinson, P.L.L.P. Langel & Associates P.C. Merrill Lynch Missoulian Muralt’s Travel Plaza NorthWestern Energy Kathy Ogren Payne West Insurance RBC Wealth Management S.G. Long & Company Stockman Bank Betty Thisted U.S. Bank Washington Corporations Dennis & Phyllis Washington Foundation pass the Baton


MUSIC DIRECTOR’S CHAIR SPONSOR Rick & Diana Nash CHORALE CONDUCTOR’S CHAIR SPONSOR Doug & Caryl Klein Maestro ($25,000+) Will and Kay Cook CONDUCTOR ($5,000-$24,999) Anonymous George & Dolores Bandow Lee Ann Bradley in memory of Jim Clapp Good Food Store Doug & Caryl Klein John Sargent Patricia Forsberg & Stephen Speckart Windfall Studio Twila Wolfe Principal Piano SPONSOR ($1,000-$4,999) Frank & Maggie Allen Principal Trombone Anonymous (4) Louisa & Paul Axelrod Assistant Principal Cello Deann Birnel Fred & Diane Bodholt Tom & Ann Boone Principal Trumpet Janet Boyer Caffe Dolce Joan Chesebro Richard & Alice Dailey Principal Bass Rae Lynn & Frank D’Angelo Pam Gardiner & Lyle Geurts Principal Tuba Bo & Karen Gardner Lyle & Gail Grimes Janet & Harry Haines Concertmaster Laura & Mark Haythornthwaite Principal Flute Ed & Donna Heilman In loving memory of Virginia Johnston from her family Dr. Llewellyn & Sandra Jones Janne Joy Charlotte Kasl Daniel Kemmis & Jean Larson Paul & Christine Kilzer Keith & Wendy Kuhn Dan & Sophie Lambros Principal Cello George & Dorothea Lambros Jo-Ann & Ian Lange – in memory of Paol & Eric Bodholt In Honor of Donald L. McCammon In Memory of M/Sgt. Barbara L. McCammon In Memory of George McCammon Jeff & Sandra Miller


Missoula Symphony Association

Missoula Broadcasting Company Montana Association of Symphony Orchestras Mary Anne & Robert F. Moseley Principal Viola Old Sawmill District Laura Patterson Principal Second Violin Brad & Celeste Peterson Michael and Traci Punke Principal Timpani In honor of M. Stephen and Lonye Rasch Associate Concertmaster Amber & Lans Richardson Jo May & Brian Salonen Principal English Horn Robert & Carol Seim Assistant Principal Viola Don & Sharon Snavely Stockman Bank Deirdre Swanson John & Sue Talbot Principal Clarinet Betty Thisted William & Sarah Towle Marci & Jim Valeo Jeff & Aggie Vandergrift Maria & Peter van Loben Sels Principal Harp Edward & Leslie Wetherbee Janet Whaley & Phil Hamilton Betsy & Warren Wilcox Principal Horn Wipfli LLP Jean & William Woessner Principal Bassoon Jennifer & Ben Yonce Principal Oboe BENEFACTOR ($600-$999) Seve & Margie Grinnell Missoula Community Foundation Donald & Charla Murray Walt & Peggy Peschel Gary Spetz Carol Vickstrom Clem & Alice Williams CONTRIBUTOR ($450-$599) Philip & Elaine Alman Anonymous Anne & Jon Bertsche Dr. James & Mary Ann Bigelow Barbara & Craig Burns James & Jeanne Clark Kathleen Evans & Dariusz Janczewski Michael & Louise Flanagan D. Gayle Gellerstedt Andrew George Ann C. Houston William James Terry & Deb Johnson Betty Lohn

Anita Kurtz Magee Robin & Nick Nichols Sandra Roe Sandy Sheppard - In honor of Marci & Jim Valeo Jean & Jan Steele Diane & Bryon Whiteaker Bruce & Charlotte Whitehead Dr. & Mrs F. L. Whitsell Judith Williams Peggy Young PATRON ($250-$449) Anonymous Cynthia & Raymond Aten ATTICrrg Firman Brown Brent Campbell Tom & Sally Daer Debra Dawson Nancy Jean DeCou Brian & Kathy Derry James A. & Mary Kay Driscoll Victoria Fleischer - in memory of Alice Haynes Carolyn Goren Doosy Habbe Pete & Gingy Heyler Donald & Shirley Hyndman Catherine & Donald Jenni Bill & Dori Johnston Paulette Jones Robin Kendall Tomi Kent Donna & James Koch Marlene Koch Caroline Kurtz Everett & Marilyn Leitzke Donna & Donald McCammon Michael & Joyce Nave Kent Nelson Philip & Lisa Rae Roper Drs. George & Kathy Roth Nancie Schumacher Jim Strauss Nat & Margo Sturgis Herbert Swick Donna Lee Thompson Julie Tomasik Kathy Turner Richard & Cristin Volinkaty Kathleen Whetzel Norman & Phyllis Wight ASSOCIATE ($100-$249) Roger & Judith Ahrens Richard & Adele Allegra Brenda Allington Arlene & David Andrews Anonymous Susan H. Armstrong Kenneth & Sharee Ballinger

Patrick Beatty Jim & Gen Beery Richard & Patricia Blank Philip & Marcy Bornstein Rose-Marie Bowman Melissa Blunt Chris & Jenifer Caldwell Hope Campbell Ann Marie Carbin Steve & Lorraine Carlson Mary Carlson John & Karyn Collins Steve and Janelle Corn Milt & Joan Datsopoulos Elaine Davis JoAnn G. Davison David V. Diggs Royce & Mary Engstrom Donna Erickson Georgia Fine Deirdre Flaherty Susan & Bill Fortner Lynda Frost Donald & Mary Gillespie Keith & Carol Glaes Carla Getz Anne Guest William Haffey Donna & Jules Haglund Overton & Jeanne Hargett Fern Hart Robert & Millicent Hawkins Bob & Sharon Hinshaw Norm Jacobson David & Penny Jakes Susan & Charles Johnson Theresa Johnson Joan Johnston Jane Kapler Smith Karen Lacey Helen J. Lee Ann Libecap Janet & Mike Lilley Paul & Beth Loehnen Gerald & Sharon Marks Andrew Massie Sue & Dave McCormack Scott & Patti McKenzie Edith McNenny Gerald & Caralee Mueller Christopher Muste and Karen Ruth Adams Marge Nordin Donna Oberhofer Shirley Oliver Faye & George Olsen Donald & Joan Olson John Duffield & Kathleen Ort Diana Pacini Chris & Janet Palmer Judith & Joseph Perine Denis Prager Caren & Chuck Reaves Pass the Baton


Earl Reinsel William & Joanne Reynolds Susan & Richard Roberts Anne & Bruce Robertson Sharyn Rogers Sally Rosenkranz Del Hiesterman & Shawn Rosscup Jon & Kay Salmonson Robert Schurr Maxine Searles Pamela & Michael Shapiro Myra Shults Nancy Singleton Michael Silverglat Irene Smith Carolyn & John Snively Kathleen Snodgrass Kristen Sohlberg Robert Stanchfield R.A. Sterling Sara Alice Steubs Carol Thomas Steve & Cheryl Thompson John Philip Garrity & Jean Marie Thorstenson Sally Tibbs Fran Tucker Robin Turner – in honor of Kathy Turner Becky Voisine George Votruba Sonja & John WaldmannBohn Stewart & Mysta Ward Jane Wells Mary Welti Carol Word Sharon Yould Patricia Zapp

MEMBER ($50-$99) Robert Acker and Martina Baum-Acker Mea Andrews Paul Baumgartner Tony Beltramo – In Memory of Marlene Barbara Blegen Brenda Bolton Ann & Jerome Brenner Brad Burklow Janene Caywood Jason Chow Conflux Brewing Company Ruth Ann Duperron Lori Draper Jacqueline Elam Maria Francis- In Memory of Margrit Syroid James & Dian Free Beth Hart Nancy & Doug Heyer Christine Jackson Jane & Frank Kisselbach Wendy Lambert Richard Legon Karla Long Melanie L. Miller Toni & Bob Ogg Al Ostrander Joni Packard Lorraine Pankratz Barb & Art Pencek Dick & Laela Shimer Beeb & Michelle Smith Nita Smith Laura & Douglas Snyder Jane Sparks Katie & Steve Thompson Janet Weber Jacelyn Wedell Dennis & Karen Workman

MEMORIAL DONATIONS Banna Financial Advisors in Memory of Ina Pearson Kurz Barbara Blegen in memory of Dorothy & Hal Blegen Ann & Tom Boone in memory of Don Habbe Carolyn Dewey in memory of Ernest Dewey First Security Bank in memory Sonia Jarrett Anne Frugoli in memory of Marie Boss Anne Frugoli in memory of Don Shaughnessy Donald O. Johnston in memory of Virginia Johnston Doug & Caryl Klein in memory of Sonia Jarrett Lans & Amber Richardson in memory of Virginia Vinal Linda J. Rockwell in memory of John F. Tibbs Jenni and Dan Santopietro in memory of Jean Campbell The Springs wine group in memory of Mora Payne Judy Tobol in memory of Dorothy & Hal Blegen Robert & Susan Wefald in memory of Sonia Jarrett



Missoula Symphony Association


The Suzuki Method is based on the principle that all children possess ability that can be developed and enhanced through a nurturing environment. Though the Suzuki method enables children to play music to a high standard, and many Suzuki-trained students have become highly acclaimed professional musicians, the training of professionals is not the aim: the emphasis throughout is on the development of the whole child. The goal is to develop a supportive community around our children – one in which parents and teachers work together to ensure that the full potential of every child is developed. Mr. Suzuki’s vision was “education that inculcates, brings out, develops the human potential... that all children on this globe may become fine human beings, happy people of superior ability, for I am convinced that all children are born with this potential.” We are proud and honored to present the Montana Suzuki Institute; offering musical instruction of the highest quality to children of all ages in a nurturing environment that brings families together. Your support in any amount will make a meaningful impact on the Montana Suzuki Institute. Thank you!

MONTANA SUZUKI INSTITUTE SUPPORTERS The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $25 or more within 12 months of February 9, 2020. We apologize for any omissions or errors.


MINUET – ($150 - $299)

SPONSOR – ($2,000 - $4,999)

GAVOTTE – ($50 - $149) KD Dickinson Home ReSource Felix & Trish Petrilli

SUSTAINER – ($1,000 - $1,999) Max & Betty Swanson Foundation Peter & Maria van Loben Sels CONCERTO – ($500 - $999)

TWINKLE – ($25 - $49) Jo May & Brian Salonen Traci Sylte

BOUREE – ($300 - $499) Russ & Jayne Piazza

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BUSineSS contriBUtorS AUTOMOTIVE/TRANSPORTATION DeMarois Buick-GMC-Mercedes BEVERAGES/FOOD Big Dipper Ice Cream Bravo Catering Caffe Dolce Conflux Brewing Company Covered Wagon Hotdogs El Cazador Good Food Store Pita Pit Sweet Peaks Ice Cream

2019-2020 Langel & Associates NorthWestern Energy Peggy Peschel - Mountainwood Estates Payne West Insurance Polleys Square Submittable Wipfli LLP

FINANCIAL & INVESTMENT D.A. Davidson & Company First Interstate Bank First Security Bank Merrill Lynch Missoula Federal Credit Union Park Side Credit Union RBC Wealth Management S.G. Long & Company Stockman Bank U.S. Bank PROFESSIONAL SERVICES Allegiance Benefit Plan Management ATTICrrg Christian Samson, P.L.L.C. Garlington, Lohn & Robinson. P.L.L.P.


Missoula syMphony association

RETAIL STORES Bitterroot Flower Shop Caras Nursery and Landscape Morgenroth Music Center Muralt’s Travel Plaza SPECIAL SERVICES Alter Enterprise Blackfoot Comfort Inn University Doubletree Hotel Missoula-Edgewater Missoula Broadcasting Company Missoula Community Foundation Missoulian Jonathan Qualben Photography Residence Inn by Marriott The Mercantile Hotel The Roxy Theater Sound Creations Washington Corporations Windfall Studio

concert SponSorS 2019-2020

JULia tai

SYmpHonY in tHe parK

S E PTEM B ER 2 8 & 2 9 , 2 0 1 9

AUGUS T 1 8 , 2 0 1 9

Bill & Phyllis Bouchee The Washington Companies | Anonymous (x4) | Doubletree By Hilton Hotel Garlington, Lohn & Robinson, PLLP | Kathy Ogren Republic Services of Montana | S.G. Long & Company | Langel & Associates Merrill Lynch

Steven SmitH

HoLidaY popS!

N OV E MBE R 2 & 3 , 2 0 1 9

D ECEM B ER 7 & 8 , 2 0 1 9

Dolores and George Bandow

paUL m C SHee

SLeepover at tHe mUSeUm

FE BR UAR Y 1 & 2 , 2 0 2 0

F E B RU A RY 7 , 2 0 2 0

An Anonymous Chorale Member

Scott Seaton

Zoe Zeniodi

FE BR UAR Y 29 , M A R C H 1 , 2 0 2 0

A PRIL 1 8 & 1 9 , 2 0 2 0

SeaSon SponSor 2019-2020

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An interview with Scott Seaton By Joe Nickell, MSO percussionist & program notes author Joe: How did you approach putting together the music for this concert? Scott: So the big piece on this concert is Dvořák’s Eighth Symphony which is one of my favorite symphonies. Dvořák actually has my favorite symphony of any composer which is actually the one before the one we’re doing. He’s just a fantastic composer and such a bright, nationalistic spirit. The Eighth Symphony, I’ve done several times and it’s just so much fun to do every time. It’s very accessible. It’s got a lot of very prominent ear worms. Also, for me as a lover of 20th Century music and especially minimalist music, the last movement of the symphony, Dvořák is playing around with elements with an almost machine-like precision and he keeps just jumping around. I love how he’s just working the orchestra through all of those elements. It makes for a very fun sonic experience, I think. For the concerto, we’re actually hitting my favorite composer which is Jean Sibelius and a concerto that is just so profound and dark at times and just mysterious. It really captures not just Sibelius’s personality but also very much what I believe Finland to be. And then, another composer I love is the American composer Michael Torke who just writes these incredible rhythmic pieces. I’ve done a lot of his color pieces but this piece, Javelin, it reminds me a lot of John Williams actually. It’s a very bright, very accessible, solid concert opener and I think everyone’s going to love it. Joe: They are definitely pieces that seem to connect with each other both in spirit and in their rhythmic drive. Extending this topic out, talk to me about how you would extend your approach to a whole season if you were to become the conductor of the MSO. Scott: You have to keep in mind as a conductor that it’s not your season. It’s everyone’s season. You want to make sure that you’re very inclusive and understanding of the orchestra, and that you have these conversations with the staff and the board and, most importantly, the community around you. So these are dialogues and conversations that are continuous and ongoing, and once you have a giant list of needs and desires from everyone around you that makes up the community, then it’s your task to create this long-term plan. So then you put the big pieces into place and you try to fit as much as you can that allows you to satisfy as many people as you can along the way while challenging the orchestra, challenging the community, making sure that you have the traditional comfort food but also expanding horizons. Joe: Talk to me about how you view a conductor’s role off the podium, out in the community, and with the organization. Scott: That part of the job is probably far more important than one’s role on the podium because being out in the community, being visible, talking to people, getting them excited about music, getting them excited about the organization, talking about potential collaborations, finding new and exciting things to do and to experiment with and to take these risks — that’s where the real discovery of the potential of the organization rests. You can’t grow unless you actually find ways to grow. If you don’t make these relationships, then you’re trying to grow in a vacuum and that’s just not going to work. 28

Missoula Symphony Association

Joe: That leads to another question, which is the music that’s typically played by orchestras. For the most part it is music from 100 to 200 years ago. Is that something that needs to be changed, and if so how? Scott: The orchestras that are really thriving today are the ones that are most invested in the community and the ones who are the most invested in propelling the world of classical music into the next century, into the next millennium and making sure it’s not just Beethoven on the program but it’s all the composers who may be the next Beethoven. It’s being an all-out champion for progress and not just thinking that, “Oh, I can only program Beethoven to sell concerts.” For me, it’s really a lot of fun to throw in these new pieces here and there and to lead up and build up to them especially during the concerts to how and why people are going to love this piece, and why it relates to everything else in the program. I compare it to when my mom used to make these intricate pasta sauces when I was a kid and how even though I hated mushrooms, she would stick them in. And after I ate the meal, she’d be like, “So what did you think?” I’m like, “Wow, it was great. Fantastic as always, mom.” And she’s like, “You know you just ate mushrooms, right?” I’m like, “Oh, really?” So, that’s really what these new pieces are to me. It’s taking the attitude of, “You may not think you’re going to like them, you may not know what is coming, but in the end there’s really nothing to be scared of and you’re going to have a great time going along this journey with me.”

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ScHoLarSHip FUnd Continuing the grand tradition of the Missoula Symphony Guild, the Missoula Symphony Scholarship Fund is dedicated to providing scholarships for outstanding University of Montana music students who play in the Missoula Symphony Orchestra or sing in the Missoula Symphony Chorale. This year, the Missoula Symphony Association will award a total of $6,500 in scholarships to five talented young musicians. This commitment is possible thanks to the generosity of the individuals listed below. Every penny of their donations goes directly to scholarships. Our 2019-2020 scholarship recipients are noted on the Orchestra Roster with a “+” sign.

ScHoLarSHip FUnd SUpporterS The MSA is grateful to the following patrons for their generous gifts. Listed below are contributions of $25 or more within 12 months of February 9, 2020. We apologize for any omissions or errors.

PRESTISSIMO ($500+) Will & Kay Cook Janet Boyer Celeste & Brad Peterson John Sargent PRESTO ($250 - $499) Caryl & Doug Klein Anita Kurtz Magee Sharon & Terry Phillips Agnes & Jeff Vandergrift Carol Word Mary & David Wesley VIVACE ($100 – $249) Tom & Ann Boone Cathy Capps & Tom Rickard Jane Dennison Donald & Shirley Hyndman Marlene Koch Dan & Sophia Lambros Dorothea & George Lambros Karen & Jerry McConnell

Charla & Donlad Murray Karen A. Orzech Sharon & Don Snavely Sara Alice Steubs Linda Stoudt John & Sue Talbot Sarah & William Towle Jim & Marci Valeo Dr. & Mrs. F. L. Whitsell Betsy & Warren Wilcox William & Jean Woessner ALLEGRO ($50 - $99) Betty Christian Karin Dague Jim & Kay Driscoll William & Sarah Towle ANDANTE ($25 - $49) Jo May & Brian Salonen Carol Stovall

To be a part of the Missoula Symphony Scholarship Fund, contact the Symphony Office at 721-3194, or mail a check payable to Missoula Symphony Scholarship Fund to PO Box 8301, Missoula 59807. Donations are 100% tax-deductible.


Missoula syMphony association

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BEQUESTS BEQUESTS consider the Missoula Symphony Association your Will PleasePlease consider namingnaming the Missoula Symphony Association (MSA) (MSA) in yourinWill and/orand/or Trust. Trust.






IRA contributions be directly made directly the MSA*, not taxable the donor IRA contributions can becan made to the to MSA*, are notare taxable to the to donor thereceives MSA receives full amount your gift. and theand MSA the fullthe amount of yourofgift.


ENDOWMENT TAX CREDIT ENDOWMENT TAX CREDIT The Missoula Symphony Association has a permanent endowment to provide The Missoula Symphony Association has a permanent endowment to provide financial stability for decades the future. Montana financial stability for decades into theinto future. Under Under Montana law, law, a contribution our endowment can benefit youa with very generous a contribution to our to endowment can benefit you with very agenerous tax credit.* tax credit.* to and federal and tax regulations *Subject*Subject to federal state taxstate regulations

more information on leaving a cultural Executive For moreForinformation on leaving a cultural legacy, legacy, contactcontact Interim Interim Executive DirectorDirector May Salonen (406) 721-3194 or jomay@missoulsymphony.org. (Yourtax legal, and financial Jo May Jo Salonen at (406)at721-3194 or jomay@missoulsymphony.org. (Your legal, andtax financial advisor(s) you accomplish your philanthropic estate planning advisor(s) can helpcan youhelp accomplish your philanthropic & estate& planning goals.) goals.)



Missoula syMphony association

N A C P â?‘ C E



Maestro ($25,000)


Patron ($250–$449)


Conductor ($5,000–$24,999)


Associate ($100–$249)


Sponsor ($1,000–$4,999)


Member ($50–$99)


Benefactor ($600–$999)


Friend ($49 & under)


Contributor ($450–$599)

Visit WWW.MISSOULASYMPHONY.ORG and click the SUPPORT US button to find out more ways to give.

Name(s): ____________________________________________________________________________________________________________ Address: _____________________________________________________________________________________________________________ City: State: Zip: ____ Phone: Email address: ____________________________________________ ❑ Check enclosed ❑ Visa ❑ MasterCard ❑ Discover Credit Card #: _____________________________________________________________________________________ Exp. Date: Signature: Please return this form with your contribution to: MSA, P.O. Box 8301, Missoula, MT 59807 The Missoula Symphony Association is a non-profit 501(c)(3) organization, federal tax ID #81-0290730. All donations are 100% tax-deductible.

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